Bryan Williams is Co-Founder and Secretary-Treasurer of Isle of Shoals Productions, Inc. as well as Composer/Playwright-in-Residence. Most recently for the company he served as musical director and arranger for this year's Valentine's Day revue Falling in Love with Love, and for the second half of IOS's Noël Coward double bill, Café Coward, which was revived and expanded for a run at Hofstra Entertainment.  He is the author of In This Fallen City, originally developed at the O’Neill National Playwrights Conference (with Mason Adams and Tom Hulce), which was produced off-Broadway by Circle Repertory Theatre and at theatres around the country.  His screenplay Night of Courage, starring Barnard Hughes, Geraldine Fitzgerald, Daniel Hugh Kelly and Lili Taylor, won ABC’s New Drama for Television Award.  Isle of Shoals recently presented a staged reading of a revised version of the play.  Prior to that, Bryan wrote the book and created the musical arrangements for "Voices That Are Gone" ... The Stephen Foster Story, which told the great composer's tragic story through his own songs.  Other IOS projects include his adaptation of Hawthorne's monumental ghost story, The House of the Seven Gables, which played the Lark Theatre in Manhattan after being workshopped at the Open Eye Theatre; and Blue Songs, Gray Songs, a dramatic/musical flashback of songs, stories and portraits of the American Civil War, which capped its tour with a run at the Pantheon Theatre, NYC. His modern tragedy A World I Never Made was chosen for the inaugural season of New Jersey Repertory Company, where he was Playwright-in-Residence, and later produced by Occasional Theatre in LA. I, Lionel, which won both the Humboldt State and Ann White Theatre awards and received its professional premiere at Trenton's Passage Theatre, is published by Dramatic Publishing Company. To Rose ~ Love Edward, an O'Neill National Playwrights finalist, was presented by IOS as an AEA Staged Reading on NYC's Theatre Row. Icarus Variations, winner of the Nesburn Prize and runner up in the Julie Harris Competition, was mounted at the off-Broadway Promenade Theatre, starring Michael Higgins, Kelly Bishop and Helen Stenborg, following a residency and developmental workshop at SUNY New Paltz sponsored by Circle Rep. Playing Combs, an O'Neill alternate, received a John Gassner Award, and was presented at the Northeastern Theatre Conference. Bryan's comedy Homing Penguins won the McLaren Comedy Playwriting and David James Ellis Memorial Awards. His play for young adults, In the Garden of the Witch, published by Baker's Plays, won both the IUPUI Youth Theatre and Discovery Awards. Other prize-winning plays: No Country for Old Men (he was there first!) which won the Morgan-Wixson Prize and was produced by the Santa Monica (CA) Theatre Guild; and Bangs and Whimpers, winner of both the Unicorn Theatre, KC and Southern Illinois University Awards and produced by both theatres. Trained at Juilliard, Bryan contributed 11 songs for Impact Theatre's Lysistrata, directed by Gabriele Forster, later produced in Mainz, Germany. He wrote book, music and lyrics for the 9/11-themed musical fable Occupation: Dragonslayer (originally commissioned by Joseph Papp's New York Shakespeare Festival Public Theatre and presented at Altered Stages in NYC); and prior to that, American Nocturne, an always timely musical about power, politics and passion on the campaign trail (Wings Theatre, NYC). Lighthouse, his musical play suggested by Ibsen's Lady from the Sea, premiered as an AEA Showcase at One Dream in Tribeca, under the auspices of Isle of Shoals, and is being considered for revival by the company. Other musicals have been performed at Folger Theatre in DC, Brooklyn Academy of Music, Lincoln Center Theatre Festival, and a U.S. Army Special Services Tour of European bases.  Bryan is an honoree of the elite Georgetown University Theatre Donn B. Murphy Hall of Fame. Current projects include book and lyrics for a new jazz-rock musical LoveCourt (music by Joe Ferrante), an irreverent, challenging and very modern take on romance by the rulebook in today’s workplace and university, juxtaposed ironically with Eleanor of Aquitaine’s chivalrous Courts of Love.

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